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Lot 259
A rare original ' Official Beatles Fan Club ' Christmas Flexi Disc 33 1/3 record ' Another Beatles' Christmas Record '. c1964. Cardboard cover featuring images of the Fab Four with fan club logo to top. With it's original ' Merry Christmas ' gatefold insert present. Appears unused, and generally very good (some light staining to cover, near top). Rare.
Lot 7
Aardman Animations : Chicken Run - original dual signed mini-poster from the animated movie. Signed by creators Nick Park and Peter Lord. Both autographed in black marker pen to light portions of the poster. Accompanied by a letter from Aardman Animations donating it to a Christmas raffle. Original envelope (tatty) still present. Measures approx; 31cm x 41cm
Lot 150
An incredible rare and original James Bond 007 Pinewood Studios sound stage hanging light-up sign. Reading ' Albert R. Broccoli - 007 - Stage. Aluminium and persex construction, the sign would've hung outside the stage doors of the soundstage set. This was reputedly removed when the logo branding for all signage at the studios changed slightly. In working order. A rare piece of Bond / Pinewood studios memorabilia. Single sided. Hanging hooks to top. Measures 100 x 65 x 12cm.
Lot 1031
SHEFF UNITED A collection of 30 Sheffield United home programmes 1949-1966 to include v Portsmouth (pirate printed by Walker) 1948/49 (Portsmouth Championship season), 21 from the 1961/62 season to include Eintracht Frankfurt (Fr) with ticket and two League Cup ties v Fulham and Newcastle United (both 4 Pagers). Some light duplication. Fair to generally good
Lot 1128
ENGLAND 1966 WORLD CUP AUTOGRAPHS A 26" X 13" framed and glazed mount with 3 9" X 7" signed photographs. The top black & white photo is signed by Geoff Hurst showing him scoring England's 4th goal in the Final, The middle colour photo shows the team on their lap of honour signed by Roger Hunt, Geoff Hurst which can be seen clearly. Bobby Moore, George Cohen and Jack Charlton autographs have faded slightly. Ray Wilson and Bobby Charlton autographs are barely visible. For Nobby Stiles, Martin Peters and Alan Ball autographs, all that can be seen are the indentations under light. The bottom black & white signed photo by Geoff Hurst shows him scoring England's 3rd goal. Fair to generally good
Lot 512
BIG MATCH TICKETS A collection of 97 Big match tickets 1950's to 2010's to include 7 FA Cup Finals 1970,1994 and 5 Media /Photographer passes 2002, 10 League Cup Finals 1971,1973,1974,1985,1997,2005,2008,2013,2015 and 2016. Semi Finals Charity Shields, Schoolboy, FA Youth Cup Finals, Play-offs and Internationals. Some light duplication. Fair to generally good
Lot 110
SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935)A STREET IN PARIS Signed, inscribed and dated 1911 on a contemporary label to backboard 'For Mrs Catto a good friend and neighbour from Margaret Peploe,' oil on board22cm x 26.5cm (8.5in x 10.5in)Note: This painting was consigned through John Milne Auctioneers of Aberdeen.S.J. Peploe creates a Parisian poem in paint. Exuberant in execution, the brushwork deft and energetic yet the palette restrained and soft in tone; with typical sophistication, Peploe captures the elegance and inspiration of this artistic city on just a small board. Although he is generally referred to as a 'Scottish Colourist,' and his choice of colour palette is always a joy to behold, thinking of him in this way can restrict the enjoyment of the other aspects of his artistic approach, especially in a work such as A Street in Paris. The colour choice is charming: deeps swathes of white sweep across the composition, the sky and details delineated in soft blue, green and grey and gently uplifted with just hints of a darker rusty red and deeper, richer blue. The slightly chalky finish to the white areas is an approach Peploe continued to use to startling affect later in his career when he became captivated with the white sands and turquoise seas of the Scottish isle of Iona. Yet in 1911, when Paris was still his artists' haven, he uses it to convey the soft northern light and urban elegance he found in the city. Taking the opportunity to look beyond colour, it is his brushwork that energises the scene, indicating everything from the direction of the street to the outlines of the trees, this vitality balancing out the subtlety of his palette. Everything feels quick, light and inspired; the northern light and urban sensibility of the city expertly captured captured, striking a deep contrast to the bright, hot sunshine which would inspire him as he travelled further south.The Scottish Colourists were united by their passion for both France and French painting, seeking out its artistic freedom and all the inspiration it had to offer. In particular, Peploe had a long-lasting love affair with the city and its artistic circles, rejecting more traditional art training in Edinburgh to study at its ateliers and academies and mingle with its artists early in his life. He returned later, following his marriage to Margaret, to live and work alongside his good friend and fellow Scottish Colourist, John Duncan Fergusson, in the period from which this work dates. He found the city a font of inspiration, particularly as a man and artist eternally preoccupied with style and dedicated to elegance; the promenading figures illustrated here are a true testament to this.
Lot 14
ALEXANDER NASMYTH (SCOTTISH 1758-1840)VIEW OF EDINBURGH FROM BLACKFORD HILL Oil on canvas71cm x 91cm (28in x 36in)Provenance:Col. D.Anderson, ColinsburghChristie's Glasgow, April 1982, lot.167 Literature:J.C.B.Cooksey, Alexander Nasmyth 1758-1840, 1991, p.88, ill. 30, 'Unpublished papers of 1806 in the Collection of Col. D.Anderson of Colinsburgh list this painting as Edinburgh from Blackford Hill' Note:This painting was previously on loan to and displayed at the National Galleries of Scotland Note: Alexander Nasmyth was described by his artist colleague, Sir David Wilkie, as 'the founder of the landscape painting school of Scotland,' due to both his commitment to the genre and the legacy of his teaching. In fact, his training and career was split across both landscape and portraiture, beginning with his early tutelage under James Cumming and Alexander Runcimann within the Norie tradition of decorative landscape painting, followed by a period in the studio of the renowned portraitist Allan Ramsay. Nasmyth then established his own successful portrait practice and developed a particular niche painting conversation pieces, often family groups in front of their residence and grounds, a combination of the two aspects of his training and talent and also an acknowledgment of his further personal interest in architecture. Two years in Italy allowed him to further develop his landscape approach, often including an architectural element, as seen in the crumbling arch within the Italian scene offered here (Lot 16). In this, Nasmyth's meticulous depiction of the details reveals the delicate beauty of the vignette; it is expertly framed within his distinctively patterned leaves with a distant landscape unfolding beyond, a method of layering and framing that he repeats regularly and successfully in much of his work. Yet he only turned fully to landscape in Edinburgh around 1792 as portrait commissions began to reduce, possibly due to his increasingly severe political views being incompatible with those of his potential subjects.A key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century, Lyon & Turnbull are delighted to be offering two further lots of work by Nasmyth within the Scottish Paintings & Sculpture auction. The pair of circular paintings offered (Lot 15), pre-date his change away from portrait commissions, and are his earliest dated landscape paintings. They remain unusual, and possibly unique pieces within his oeuvre, small scale and executed in oil on copper; a medium known for its capacity to exhibit both delicacy and luminosity. Nasmyth's technique remains delicate and considered, with a lovely handling of light in both scenes. View of Edinburgh from Blackford Hill is a particularly Scottish view, capturing the rugged and distinctive topography that characterises the capital city, and the stretch of water and landmass of Fife that unfolds further North. Nasmyth's talent for balance and perspective across a composition is revealed as these different landscape layers unfold from the countryside setting where we stand and view. With a prestigious provenance, having recently been on loan to and exhibited at the National Galleries of Scotland, this is a true slice of Scotland.
Lot 16
ALEXANDER NASMYTH (SCOTTISH 1758-1840)A RUINED BRIDGE OVER A RIVER, ITALY Oil on canvas46cm x 61cm (18in x 24in)Literature:A painting of the same subject but with figures is illustrated in J.C.B.Cooksey, Alexander Nasmyth 1758-1840, published in 1991, p.28 ill.125 Note: Alexander Nasmyth was described by his artist colleague, Sir David Wilkie, as 'the founder of the landscape painting school of Scotland,' due to both his commitment to the genre and the legacy of his teaching. In fact, his training and career was split across both landscape and portraiture, beginning with his early tutelage under James Cumming and Alexander Runcimann within the Norie tradition of decorative landscape painting, followed by a period in the studio of the renowned portraitist Allan Ramsay. Nasmyth then established his own successful portrait practice and developed a particular niche painting conversation pieces, often family groups in front of their residence and grounds, a combination of the two aspects of his training and talent and also an acknowledgment of his further personal interest in architecture. Two years in Italy allowed him to further develop his landscape approach, often including an architectural element, as seen in the crumbling arch within the Italian scene offered here (Lot 16). In this, Nasmyth's meticulous depiction of the details reveals the delicate beauty of the vignette; it is expertly framed within his distinctively patterned leaves with a distant landscape unfolding beyond, a method of layering and framing that he repeats regularly and successfully in much of his work. Yet he only turned fully to landscape in Edinburgh around 1792 as portrait commissions began to reduce, possibly due to his increasingly severe political views being incompatible with those of his potential subjects.A key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century, Lyon & Turnbull are delighted to be offering two further lots of work by Nasmyth within the Scottish Paintings & Sculpture auction. The pair of circular paintings offered (Lot 15), pre-date his change away from portrait commissions, and are his earliest dated landscape paintings. They remain unusual, and possibly unique pieces within his oeuvre, small scale and executed in oil on copper; a medium known for its capacity to exhibit both delicacy and luminosity. Nasmyth's technique remains delicate and considered, with a lovely handling of light in both scenes. View of Edinburgh from Blackford Hill is a particularly Scottish view, capturing the rugged and distinctive topography that characterises the capital city, and the stretch of water and landmass of Fife that unfolds further North. Nasmyth's talent for balance and perspective across a composition is revealed as these different landscape layers unfold from the countryside setting where we stand and view. With a prestigious provenance, having recently been on loan to and exhibited at the National Galleries of Scotland, this is a true slice of Scotland.
![[§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957)THE HARBOUR AT CORRIE, ARRAN Signed, oil on canvas51cm x 61cm (20in x 2](https://cdn.globalauctionplatform.com/674c16e8-dfe0-41a9-a1e6-aa2a00fca3dc/844d0307-77ef-4353-a212-aa4900fc5906/468x382.jpg)
Lot 75
[§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957)THE HARBOUR AT CORRIE, ARRAN Signed, oil on canvas51cm x 61cm (20in x 24in)Note: The artistic link between Scotland and France in the early decades of the 20th century was strong and, in many ways, remarkable. Famously, the Scottish Colourists Fergusson, Peploe, Cadell and Hunter forged a path in Paris ahead of many of their English counterparts, quickly absorbing and reacting to the work of their heroes of the Post-Impressionist school. Milne was the son of traditional landscape artist Joseph Milne and, though his very early work is indebted to his father's influence, he soon turned his attention to developments on the Continent. Though a generation younger than his fellow compatriots in France, Maclauchlan Milne followed exuberantly in their tradition; earning himself the moniker of "The Fifth Colourist". A Dundee newspaper reported: 'It is difficult keeping pace with Mr. Maclauchlan Milne. A year ago he was painting Scottish fields with the soft sunlight and mellow atmosphere. Then Paris seized him, and he gave us canvases splashed with vivid colour, radiating gaiety and the joy of life. Now he has drunk "a beaker full of the warm South" and has brought back from the azure shore pictures that palpitate with hot sunlight and dazzle with their audacious colour.'His ties with Scotland remained strong, and ultimately he was to settle on the Isle of Arran, making his home near Corrie harbour. The effect of the brilliant French light never deserted Milne, and his depictions of Arran are virtually always of idyllically bright days, featuring white-washed cottages, wind-ruffled blossom trees and turquoise bays. Milne's form by this period is often experimentally free and unfettered; the foliage and proportions of the house almost swirling with movement and expression, alluding, perhaps, to the work of one of his greatest influences, Vincent Van Gogh.
![[§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957)SUMMER'S DAY, CORRIE Signed, oil on board38cm x 46cm (15in x 18in)Note:](https://cdn.globalauctionplatform.com/674c16e8-dfe0-41a9-a1e6-aa2a00fca3dc/3a5585b8-000f-4d78-8a46-aa4900fc5a7f/468x382.jpg)
Lot 76
[§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957)SUMMER'S DAY, CORRIE Signed, oil on board38cm x 46cm (15in x 18in)Note: The artistic link between Scotland and France in the early decades of the 20th century was strong and, in many ways, remarkable. Famously, the Scottish Colourists Fergusson, Peploe, Cadell and Hunter forged a path in Paris ahead of many of their English counterparts, quickly absorbing and reacting to the work of their heroes of the Post-Impressionist school. Milne was the son of traditional landscape artist Joseph Milne and, though his very early work is indebted to his father's influence, he soon turned his attention to developments on the Continent. Though a generation younger than his fellow compatriots in France, Maclauchlan Milne followed exuberantly in their tradition; earning himself the moniker of "The Fifth Colourist". A Dundee newspaper reported: 'It is difficult keeping pace with Mr. Maclauchlan Milne. A year ago he was painting Scottish fields with the soft sunlight and mellow atmosphere. Then Paris seized him, and he gave us canvases splashed with vivid colour, radiating gaiety and the joy of life. Now he has drunk "a beaker full of the warm South" and has brought back from the azure shore pictures that palpitate with hot sunlight and dazzle with their audacious colour.'His ties with Scotland remained strong, and ultimately he was to settle on the Isle of Arran, making his home near Corrie harbour. The effect of the brilliant French light never deserted Milne, and his depictions of Arran are virtually always of idyllically bright days, featuring white-washed cottages, wind-ruffled blossom trees and turquoise bays. Milne's form by this period is often experimentally free and unfettered; the foliage and proportions of the house almost swirling with movement and expression, alluding, perhaps, to the work of one of his greatest influences, Vincent Van Gogh.
![[§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957)COTTAGES, HIGH CORRIE Oil on board46cm x 53.5cm (18in x 21in)Note: The](https://cdn.globalauctionplatform.com/674c16e8-dfe0-41a9-a1e6-aa2a00fca3dc/6543f0e6-2815-4236-8979-aa4900fc5bb2/468x382.jpg)
Lot 77
[§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957)COTTAGES, HIGH CORRIE Oil on board46cm x 53.5cm (18in x 21in)Note: The artistic link between Scotland and France in the early decades of the 20th century was strong and, in many ways, remarkable. Famously, the Scottish Colourists Fergusson, Peploe, Cadell and Hunter forged a path in Paris ahead of many of their English counterparts, quickly absorbing and reacting to the work of their heroes of the Post-Impressionist school. Milne was the son of traditional landscape artist Joseph Milne and, though his very early work is indebted to his father's influence, he soon turned his attention to developments on the Continent. Though a generation younger than his fellow compatriots in France, Maclauchlan Milne followed exuberantly in their tradition; earning himself the moniker of "The Fifth Colourist". A Dundee newspaper reported: 'It is difficult keeping pace with Mr. Maclauchlan Milne. A year ago he was painting Scottish fields with the soft sunlight and mellow atmosphere. Then Paris seized him, and he gave us canvases splashed with vivid colour, radiating gaiety and the joy of life. Now he has drunk "a beaker full of the warm South" and has brought back from the azure shore pictures that palpitate with hot sunlight and dazzle with their audacious colour.'His ties with Scotland remained strong, and ultimately he was to settle on the Isle of Arran, making his home near Corrie harbour. The effect of the brilliant French light never deserted Milne, and his depictions of Arran are virtually always of idyllically bright days, featuring white-washed cottages, wind-ruffled blossom trees and turquoise bays. Milne's form by this period is often experimentally free and unfettered; the foliage and proportions of the house almost swirling with movement and expression, alluding, perhaps, to the work of one of his greatest influences, Vincent Van Gogh.
![[§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957)BRIDGE OVER THE TORRENT Signed and dated '33, oil on canvas51cm x 61cm](https://cdn.globalauctionplatform.com/674c16e8-dfe0-41a9-a1e6-aa2a00fca3dc/8573898a-47f9-4d49-a66c-aa4900fc5d15/468x382.jpg)
Lot 78
[§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957)BRIDGE OVER THE TORRENT Signed and dated '33, oil on canvas51cm x 61cm (20in x 24in)Note: The artistic link between Scotland and France in the early decades of the 20th century was strong and, in many ways, remarkable. Famously, the Scottish Colourists Fergusson, Peploe, Cadell and Hunter forged a path in Paris ahead of many of their English counterparts, quickly absorbing and reacting to the work of their heroes of the Post-Impressionist school. Milne was the son of traditional landscape artist Joseph Milne and, though his very early work is indebted to his father's influence, he soon turned his attention to developments on the Continent. Though a generation younger than his fellow compatriots in France, Maclauchlan Milne followed exuberantly in their tradition; earning himself the moniker of "The Fifth Colourist". A Dundee newspaper reported: 'It is difficult keeping pace with Mr. Maclauchlan Milne. A year ago he was painting Scottish fields with the soft sunlight and mellow atmosphere. Then Paris seized him, and he gave us canvases splashed with vivid colour, radiating gaiety and the joy of life. Now he has drunk "a beaker full of the warm South" and has brought back from the azure shore pictures that palpitate with hot sunlight and dazzle with their audacious colour.'His ties with Scotland remained strong, and ultimately he was to settle on the Isle of Arran, making his home near Corrie harbour. The effect of the brilliant French light never deserted Milne, and his depictions of Arran are virtually always of idyllically bright days, featuring white-washed cottages, wind-ruffled blossom trees and turquoise bays. Milne's form by this period is often experimentally free and unfettered; the foliage and proportions of the house almost swirling with movement and expression, alluding, perhaps, to the work of one of his greatest influences, Vincent Van Gogh.
Lot 106
ANTONÍN PROCHÁZKA 1882 - 1945: HARVEST 1940s Oil and wax on canvas and cardboard 40 x 50 cm Signed lower left: "AP." This painting, which is remarkable for its specific color and play with light, modelling the movement of figures during the harvest at the height of summer, is the work of Antonín Procházka, an important exponent of Czech modernism and a member of Osma and the Mánes Union of Fine Artists. He first studied at the School of Applied Arts and later under Vlaho Bukovac, Hanuš Schwaiger and Max Švabinský at the Academy of Fine Arts in Prague. Like many of his peers he was dissatisfied with academicism, so he dropped out of school and left for Berlin with Emil Filla and Bedøich Feigl, from where they travelled to other European cities to become acquainted with current trends in painting. After returning home in 1906 he held his first exhibition with Emil Filla. He exhibited as a guest at both Osma exhibitions (1907 and 1908). In 1907–1908 he travelled throughout Europe, meeting painter Linka Scheithauer in Germany; the two married upon his return home. Procházka’s oeuvre is initially influenced by the work of Edvard Munch, but he gradually transitions from Expressionism to his unique interpretation of Cubism, which is also called Procházka Orphism. In the 1920s he inclined towards Neoclassicism and Poetic Primitivism, going on to experiment with art techniques and color and in the 1930s and 40s. Procházka’s work enjoyed significant acclaim abroad, especially in the United Kingdom and France, where he received a Grand Prix.
Lot 128
VÍTĚZSLAV JUNGBAUER 1919 - 2003: A LAMP 1968 Metal, Plexiglas 32 x 21,5 x 7,5 cm Signed on back: "JUNGBAUER 68" Sculptor Vítězslav Jungbauer originally apprenticed as a wood carver under his father in Nebahovy, a village near Prachatice. At the School of Applied Arts in Prague he studied under Professor Karel Dvořák and Josef Wagner, graduating in 1948 before settling in Prague.His work is focused on the expressive reassessment of realistic forms in a modern sense for contracted form, working with both traditional materials (wood, stone, bronze) and malleable plastics. He executed a Plexiglas relief featuring the seal of Charles University for the university's medical faculty and a 80 m2 relief map of Prague for the Czechoslovakia 60 exhibition in Moscow and Kiev. Plastic enabled him to create objects that interact with light (i.e.,are transparent).
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